No Pier Pressure (board member reviews)

[ThyRavenAscend]

OVERALL THOUGHTS
-- The vox on this album are either sung or mixed better, or both. The blend is awesome, and...
-- ...I love the falsetto. Foskett is talented, but something about the falsetto on NPP is superior. (It's not Foskett, right? I'm actually 100% sure lol.)
-- The drums are pretty obnoxious throughout the album. Although I wish Brian approached percussion like he used to (i.e. less is more), I would even settle for them being turned down a bit in the mix.

HIGHLIGHTS
"This Beautiful Day" -- A lovely opener, much catchier & prettier melody than that of TWGMTR.
"The Right Time" -- I'm tempted to say that this is just standard fare, but then I remember: Who else makes music that sounds like this? Sure, it's not one of my favorite BW tracks--but it's still a solid track, and probably the right choice for a single, I s'pose.
"Guess You Had to Be There" -- The 2nd best upbeat song on the album. Gotta love those BGVs on the chorus.
"Don't Worry" -- I love this song. The 1st best upbeat song on the album. Whatever cheeze there is in this song is outweighed by the catchiness and inspiration-ness (inspiration-ality?) of the lyrics.
"Tell Me Why" -- I really, really love this song. Easiest the best song on the album. The lyrics are heartbreaking, and the relationship of the lead vocal to BGVs on the chorus is like magic.
"One Kind of Love" -- Parts are reminiscent of TLOS. Drums taint the otherwise perfect chorus. But the verses are the real treat in this track.
"The Last Song" -- It's not the album closer probably any of us was hoping for, but it does build into something very emotional & powerful. I wasn't sold on the first set of la's, but after the build I was completely sold. Lovely end to the album, tho the coda drags on a bit.

MIDLIGHTS
"Runaway Dancer" -- Tempted to put this as a "lowlight", but it's just so freakin' weird that I'm drawn a bit to it. However, it doesn't feel at all like Brian.
"Whatever Happened" -- S'okay, I s'pose.
"On the Island" -- As someone mentioned earlier, Zooey's vocal inflections save this otherwise fair song. It's gotta a good cute-seductive feel.

LOWLIGHTS
"Half Moon Bay" -- Why is this song on the album? If the solo parts were taken out, it would actually make more sense, IMHO.
"Our Special Love" -- Every album has a turd.
"Sail Away" -- I really wanted to like this song--I really did. But I just don't. I hate whatever sparse accordion-sounding-thing pops in & out throughout.
"Saturday Night" -- I don't understand this song. Pass.

BOTTOM LINE
A better album overall than TLOS, and its highs are much higher than anything on TWGMTR, IMHO. I'm a mixture of disappointed & pleased, but the highs of the album really make it all worth it.

[jeffcdo]

I was reading on the Hoffman boards that a couple people have edited out the Peter Hollens boyband stuff from "Our Special Love"  Has anybody here tried this and more importantly, would they be willing to share it?!

[♩♬🐸 Billy C ♯♫♩🐇]

More in depth thoughts later, but here's some quick ones...

Not only my favorite BW solo album by a large margin, this is in my top 10 of any BB related album, easily.  I love every single song on here, but obviously some stand out more to me. 'Runaway Dancer', 'One Kind of Love' and (especially) 'Guess You Had to Be There' are my favorites. Brian hits some notes I'd never thought I'd ever hear him *attempt* again, much less hit. The production (much more Wilson than Thomas, truth be told, although some won't want to believe that) hits it for me, too. From all accounts, Brian was heavily involved and motivated, and it shows.

[The LEGENDARY OSD]

More in depth thoughts later, but here's some quick ones...

Not only my favorite BW solo album by a large margin, this is in my top 10 of any BB related album, easily.  I love every single song on here, but obviously some stand out more to me. 'Runaway Dancer', 'One Kind of Love' and (especially) 'Guess You Had to Be There' are my favorites. Brian hits some notes I'd never thought I'd ever hear him *attempt* again, much less hit. The production (much more Wilson than Thomas, truth be told, although some won't want to believe that) hits it for me, too. From all accounts, Brian was heavily involved and motivated, and it shows.

 

[Summertime Blooz]

I was reading on the Hoffman boards that a couple people have edited out the Peter Hollens boyband stuff from "Our Special Love"  Has anybody here tried this and more importantly, would they be willing to share it?!

I wouldn't change a thing about 'Our Special Love' because I think it's really beautiful track as-is, but I did take the scissors to 'Guess You Had To Be There' to cut out Musgrave's first verse which turns it into more of a Brian track since you hear his voice first. I also removed Chaplin's lead vocal section on 'Sail Away' and faded it out early to eliminate some of the 'Sloop John B' stuff. Improves the album for me.

[jeffcdo]

I wouldn't change a thing about 'Our Special Love' because I think it's really beautiful track as-is, but I did take the scissors to 'Guess You Had To Be There' to cut out Musgrave's first verse which turns it into more of a Brian track since you hear his voice first. I also removed Chaplin's lead vocal section on 'Sail Away' and faded it out early to eliminate some of the 'Sloop John B' stuff. Improves the album for me.

Are you joking?  I can't tell.

[Nicko1234]

More in depth thoughts later, but here's some quick ones...

Not only my favorite BW solo album by a large margin, this is in my top 10 of any BB related album, easily.  I love every single song on here, but obviously some stand out more to me. 'Runaway Dancer', 'One Kind of Love' and (especially) 'Guess You Had to Be There' are my favorites. Brian hits some notes I'd never thought I'd ever hear him *attempt* again, much less hit. The production (much more Wilson than Thomas, truth be told, although some won't want to believe that) hits it for me, too. From all accounts, Brian was heavily involved and motivated, and it shows.

I think that depends on the context and there`s one thing I would query about that...

Now if the production of the album had been getting wall-to-wall great reviews that would make sense. But I think it`s fair to say that isn`t the case. Board members seem to be pretty disappointed with the media reviews.

So if there are reviews which criticize the production then claiming that Brian was responsible for the majority of it would be criticizing him. Not praising.

It seems that more than anything the reviewers are praising a lot of Brian`s work on the album but want to knock Joe Thomas for the things they don`t like. As the album has certainly had worse ratings than TLOS and Joe Thomas is the big change on the production side, that makes sense.

[debonbon]

I’ve listened through the 16-track Deluxe version several times now, in a variety of contexts, and I’ve tried to come to terms with my thoughts and opinions on NPP.  Unfortunately, they are not nearly as positive as the prevailing sentiment around these parts.

I just can’t get into this album for the most part, apart from a song here and there.  A lot of it is the production; the terms “adult contemporary” and “70s soft rock” have been thrown around a lot in descriptions of NPP’s sound, in both positive and negative reviews, and unfortunately, those are two of my most-loathed genres, so I’m already facing an uphill battle.  I just do. not. like. the (IMHO) super-slick, saccharin, oft-cheesy, glossy sheen that Joe Thomas brings to the proceedings.  It’s significantly toned-down from “Imagination,” thankfully (that album is down at the bottom of the barrel for me in Brian’s solo catalogue), but it still grates on me.  (This is also one reason why TWGMTR didn’t resonate with me all that much, and yes, I realize I’m probably in the minority on that one.)

Please note that I’m NOT complaining or talking about any there-or-not presence of pitch correction on vocals.  There may be some here and there, or there may not, but whatever - that’s not my issue with the album’s sound at all.

I’m surprised by how non-memorable I find a lot of the songs.  Songs like “Tell Me Why” are pleasant-sounding under all the gloss, but also don’t stick in my head at all - I’ve forgotten them when they’re over.  Pleasant but bland.  “The Right Time” is more memorable, and Al sounds legitimately GREAT, but the soft rock instrumental production grates at me (especially those ‘70s light-rock guitar riffs, a guitar tone that always makes my skin crawl - not a knock at David Marks as a guitarist, I just don’t like the guitar tone used on this album at all).  “Sail Away,” despite the SJB-quoting flutes, is also more memorable, and transcends the production a bit (and it’s great having Blondie, Al, and Brian on a song together).  “Whatever Happened” is also a nice, solid song.  “The Last Song” I don’t enjoy much - it feels like it’s trying too hard, somehow (and again, that production doesn’t work well with my tastes), and doesn’t hit me nearly as sharply as, say, “Midnight’s Another Day,” which I feel is one of Brian’s career peaks, solo or otherwise.

The outside artist collaborations veer wildly around the quality spectrum, ranging from (again, all in my humble opinion) utter train wrecks (“Runaway Dancer,” “Our Special Love”) to bland-but-inoffensive (“Half Moon Bay”) to catchy-enough-but-utterly-generic (“Saturday Night” - I never liked Fun.’s music, and I’m not big on Nate Ruess’s voice - and "Guess You Had To Be There," and while I don't necessarily think it's pitch correction, there is *some* kind of vocal processing on Musgraves that I find very distracting and weird-sounding) to pretty fun and solid (“On The Island” - it sounds *nothing* like a Brian Wilson song, rather sounding like a 100% She & Him tune that Brian happens to do some backing vocals on, but I’m OK with She & Him, it works for what it is, and I dig the bossa nova lounge music vibe, and I think the production works pretty well here).  Apart from occasional spins of that last song, I’ll never listen to any of these again.

I want to say I have no “agenda” or whatever - I genuinely love Brian’s music, and it’s had a massive impact on me over the years.  Brian's music is in part why I write and perform music now.  I just do not jibe with this album at all, just as I didn’t jell with “Imagination” or GIOMH, or some examples from the BBs catalogue.  Several of the songs, if they were given a more organic/less soft rock or AC production, would probably strike me a *lot* better, but as it is, I’ll probably not be revisiting the vast majority of this album in the future.  I love BWPS, I love TLOS (apart from the spoken word and a song or two), I love (most of) BW88 (like “Love You,” I can roll with the crazy production as it completely commits to it, and there are just so many wonderful tunes), but NPP doesn’t do it for me.

Your mileage, of course, may vary.  If you like NPP, that's great - just, for me, personally, this one is a misfire.

This pretty much sums up how I feel too, though I don't mind a 70s sound soft rock sound, this is far more modern adult contemporary sounding. I have NO idea why Brian's team think this is the sound to go for rather than a more hip, vintage sound.

[♩♬🐸 Billy C ♯♫♩🐇]

It seems that more than anything the reviewers are praising a lot of Brian`s work on the album but want to knock Joe Thomas for the things they don`t like. As the album has certainly had worse ratings than TLOS and Joe Thomas is the big change on the production side, that makes sense.

Actually, the big change sound-wise is Brian. Thomas was not as involved as you think (and certainly much less than on TWGMTR),and my answer to that is the same one I have to the other poster below:

I have NO idea why Brian's team think this is the sound to go for rather than a more hip, vintage sound.

Probably because the choice in sound was Brian's himself.

[ForHerCryingSoul]

We should put this thread of reviews and the thread of critic reviews for this album into the Brian Wilson Solo Albums of the 21st Century in Album Reviews.  Who's with me?

Also, BW doesn't reach as high of notes as he did in TLOS.  Compare Forever She'll Be My Surfer Girl to One Kind of Love.  You'll find the former reaches higher.  However, the clarity of the A note in One Kind of Love is much better and Brian has an overall better tone in NPP, IMO anyway.   

[Nicko1234]

Actually, the big change sound-wise is Brian. Thomas was not as involved as you think (and certainly much less than on TWGMTR),and my answer to that is the same one I have to the other poster below:

Well, if that`s the case then it`s unfortunate because I really don`t want to think that Brian was responsible for the drum and brass sounds or the production of something like Don`t Worry. I would prefer to blame that guff on Mr. Thomas.

It would also seem slightly bizarre if Brian is now taking less credit but doing more work...

[Wirestone]

Joe lives near Chicago. Brian lives in LA. Joe visited Brian and cowrote most of the songs, and participated in some tracking sessions. But it is my understanding that Brian largely recorded and supervised the vocals for the album on his own, as well as the string overdubs and additional recording, such as the Scott Bennett songs that originated as an entirely separate project. Brian did some of his own mixing for the album, and directed many of the creative decisions – like the album cover art – on his own.

As for less credit and more work, Brian gets a sole arrangement credit on the album. That means something. It's certainly not unprecedented given his history either. After all, he produced several of the albums credited to the BBs in the late 60s.

[Nicko1234]

Joe lives near Chicago. Brian lives in LA. Joe visited Brian and cowrote most of the songs, and participated in some tracking sessions. But it is my understanding that Brian largely recorded and supervised the vocals for the album on his own, as well as the string overdubs and additional recording, such as the Scott Bennett songs that originated as an entirely separate project. Brian did some of his own mixing for the album, and directed many of the creative decisions – like the album cover art – on his own.

As for less credit and more work, Brian gets a sole arrangement credit on the album. That means something. It's certainly not unprecedented given his history either. After all, he produced several of the albums credited to the BBs in the late 60s.

Thanks for this info.

I`m glad to hear that Brian was responsible for the vocals as I haven`t seen too many criticisms of those. The choices of younger singers perhaps but not the vocal arrangements themselves.

And as the Scott Bennett songs are certainly better produced than some other songs that is good to know.

And thank you for allowing me to cling onto the notion that Joe Thomas played a big part in the production of Don`t Worry. 

[♩♬🐸 Billy C ♯♫♩🐇]

Well, if that`s the case then it`s unfortunate because I really don`t want to think that Brian was responsible for the drum and brass sounds or the production of something like Don`t Worry. I would prefer to blame that guff on Mr Thomas.

It's okay not to like something that Brian did that was his idea...he did the TLOS interludes that I personally didn't care for. As for the drums, well...to me it sure beats the sh*t of the drum sound Thomas normally comes up with himself. Just my honest opinion. The drum sound, and (especially) the bass textures, do not sound like Thomas's work. And sorry to burst your bubble, but I think Don't Worry was mainly Brian.

But it is my understanding that Brian largely recorded and supervised the vocals for the album on his own, as well as the string overdubs and additional recording, such as the Scott Bennett songs that originated as an entirely separate project. Brian did some of his own mixing for the album, and directed many of the creative decisions – like the album cover art – on his own.

Yup. It was also my understanding that Thomas was more involved in the early days of the project, back when Jeff Beck was still involved, but I could be mistaken.

[Nicko1234]

Well, if that`s the case then it`s unfortunate because I really don`t want to think that Brian was responsible for the drum and brass sounds or the production of something like Don`t Worry. I would prefer to blame that guff on Mr Thomas.

It's okay not to like something that Brian did that was his idea...he did the TLOS interludes that I personally didn't care for. As for the drums, well...to me it sure beats the sh*t of the drum sound Thomas normally comes up with himself. Just my honest opinion. The drum sound, and (especially) the bass textures, do not sound like Thomas's work. And sorry to burst your bubble, but I think Don't Worry was mainly Brian.

Nooooooooooooooooooooooooo! 

[♩♬🐸 Billy C ♯♫♩🐇]

That said, Im not so sure about the horns.

[Summertime Blooz]

I wouldn't change a thing about 'Our Special Love' because I think it's really beautiful track as-is, but I did take the scissors to 'Guess You Had To Be There' to cut out Musgrave's first verse which turns it into more of a Brian track since you hear his voice first. I also removed Chaplin's lead vocal section on 'Sail Away' and faded it out early to eliminate some of the 'Sloop John B' stuff. Improves the album for me.

Are you joking?  I can't tell.

No, I'm not joking. (just kidding) (or not)

[Mayoman]

The three new tracks on the deluxe version not on the regular version might be my favorite three on the album.

[Zesterz]

Simply---I like this CD a LOT.

It is cohesive and has a lot of quality. Brian sings very well throughout with some pleasant  surprises, too. Given the background, it is
as good as anyone had any right to expect. The consistency throughout is welcome. No need to apologise for anything. Plenty to enjoy. The extra tracks are perfectly valid--personally, I could not conceive of NOT having bought them. Most incredible is the moderrn direction Brian has taken........with "moments" to savour in particular  e.g the middle of Our kind of Love.
Best of all...it will grow and grow on me.

[the captain]

The three new tracks on the deluxe version not on the regular version might be my favorite three on the album.

Of what seem to be the popular opinions about the album around here, this is the one I identify with the least. I don't recall whether anyone else has said so--though neither have I kept up with every thread on the subject, as one can only read so much Thomas-or-guest-or-effect-bashing without risking it accidentally becoming one's mantra--but I prefer the standard album over the deluxe. I think it's got a better flow. A really, really good flow, in fact.

But don't get me wrong, I like the extra songs, too. "Don't Worry" is one of the better songs on the whole album, I'm just not such a fan of it (and the others) shoehorned in the third quarter of the album. I'm lukewarm on "I'm Feeling Sad" and not really such a fan of "Somewhere Quiet," though I can understand what people like about them.

Of course, this album lends itself to creative re-sequencing. That's one of its great glories from this man's perspective. Songs, songs, glorious songs, nary a link track nor narrative to be found.

[Hot Rod]

okay, here's my review, after listening to the album 4 or 5 times. I'm reviewing the deluxe version

overall I'll give this album 3,5-4/5
It's not as good as TLOS, which is my favorite BW album, but still really good. Some of the guest singers are great, some not. I didn't listen to any samples, so all the songs were new to me when I got the album.

1. This Beautiful Day - This song has everything I love about Brian. It's so amazing and beautiful
2. Runaway Dancer - I like this song way more than I should. I refer to it as the "Ibiza-tune" The melody is nice and the song could totally be a club hit, which is pretty strange for Brian. Fun song when I'm in the right mood
3. Whatever Happened - Beautiful harmonies and arrangements. Great song. Only Brian can write a song like this
4. On an Island - I wasn't sure about Zoey Dechanel's contribution, but this song turned out to be one of my favorites on the album. It's supercatchy and sexy. it actually reminds me a lot of An Occasional Man by Don Tiki (https://www.youtube.com/watch?v=F1Gy_4NXGq8).
5. Half Moon Bay - This song jumps from very beautiful to super-cheesy and back in a second. Not sure about this one. It has it's moments when the vocals are there, but the flügelhorn, the saxophone and the guitar are cheesy as hell
6. Our Special Love - This song is strange. It starts and ends very strong with some of the most beautifully arranged harmony vocals Brian-style. But as soon as the guest singer steps in it sound like the Backstreet Boys (the "nothing but nothing can stand in our way" part. Just listen to it and agree!) The rest is good, too. But this particular verse is pretty terrible.
7. The Right Time - This song is pretty weak for a single. The melody is okay, Al is great. I actually like the verse much more than the refrain
8. Guess You Had To Be There - I don't think this song is good or bad. it's just there and doesn't make sense on a BW album. Brian doesn't write country songs, so this song is completely out of place.
9. Don't Worry - The worst song on the album. Completely uninspired verse followed by an even more uninspired refrain. Guess what, the song itself is terrible 80s crap. When I hear this I think: "Brian sings this song like he didn't even like it and thought what the f*** is this?"
10. Somewhere Quiet -  And now for something completely beautiful. Here we have Brian doing what he does best.
11. I'm Feelin' Sad - The verse is just as uninspired as Don't Worry, but at least we have a great refrain that saves this song.
12. Tell Me Why -  Thanks Al for contributing such amazing vocals. This song a so beautiful. GIVE ME AN A, GIVE ME AN L, WHATS THAT SPELL?
13. Sail Away - If I didn't know that Blondie was on the vocals it could also be any other guest singer. My mind just can't make the connection from Sail On Sailor to Sail Away. Less Talk, more rock: One of the best songs on the album. It so great. Blondie is amazing, Al is great as always, the harmonies are out of this world
14. One Kind Of Love - Amazing and beautiful arrangements. OMG, Brain can still sing the falsetto, even if it is reached through the power of AT. Who cares? I don't!
15. Saturday Night - This song is okay. It doesn't get on my nerves as much as Don't Worry. But still pretty boring. Sound like superboring 90s Barenaked Ladies
16. Last Song  - This song is out-of-this-worldly-beautiful and perfect! B.R.I.A.N.!! THE CHURCH OF BRIANTOLOGY!!!

[Sam_BFC]

I think the production of values of NPP are more inline with the Disney albums than TWGMTR or Imagination.

[Music Lover]

Ok, as a new member, this is my second post.
Overall, I really enjoyed NPP. I would give it 4.5 out of 5.
1. This Beautiful Day 5/5
Just gorgeous, heartbreaking and reminiscent of "Think About The Days" AND "Summer's Gone," essentially closing the circle of TWGMTR.
2.Runaway Dancer 5/5
I have liked Capital Cities since "One Minute More" which L.A. radio stations played a lot in the summer of 2014. I also LOVE that Brian did this for his kids. It also sounded great on "Conan" the other day.
3. Whatever Happened 4/5
Great harmonies and the inclusion of David Marks and Al Jardine is awesome.
4. On The Island 5/5
I really enjoyed this. Very laid back and fun. Great VEVO video.
5. Half Moon Bay 4/5
I like the production here, but I wish the melody were more "constant," at times, the breaks are a bit abrupt, but I still think this is a strong song.
6. Our Special Love 4/5
I thoroughly enjoyed the harmonies. Peter Hollens did a great job with his part, but admittedly, in an ideal world, I wish that Mike Love had his vocal here.
7. The Right Time 4/5
Al Jardine is a great, youthful sounding singer. I enjoyed this song in a "It's A Beautiful Day"/"Goin On"/"That's Why God Made The Radio"/ with a "Lay Down Burden" melody kind of way.
8. Guess You Had To Be There 5/5
Catchy as hell. Should be a single released on Country Stations first, then to mainstream Top 40. They should shoot a video that highlights Kacey Musgraves' participation. Love this one.
9. Don't Worry 4/5
I find myself humming this song involuntarily. Has a bit of a 70's Philly vibe crossed with an early 80's British Pop feel.
10. Somewhere Quiet 5/5
Taking a classic BB instrumental and remaking it with words and harmonies is a perfect match. It harkens back to Brian's early (seemingly) innocent days and adds the life experience of an older man. Sweet.
11. I'm Feeling Sad 4/5
This reminds me of "Busy Doin' Nothing" crossed with "Happy Days" from 'Imagination.'
12. Tell Me Why 5/5
Fantastic. Sounds like a Beach Boys track for so many reasons.
13. Sail Away 4/5
This is a very catchy tune and I love that Blondie Chaplin is back in the fold, though I prefer his more soulful voice from "Sail On Sailor" or as featured on the PBS Special "Hold On Dear Brother."
14. One Kind Of Love 5/5
Heartfelt. I does remind me of "Midnight's Another Day." This one will be very emotional when it plays over the credits of "Love And Mercy."
15. Saturday Night 5/5
This is a very radio friendly song and Nate Ruess is quite popular, thus this would be my second single choice after the Musgraves collaboration.
16. The Last Song 5/5
Beautiful melody, poignant harmonies, sung with conviction. Would be my third single selection.
17. In The Back Of My Mind 5/5
The casual listener may not connect to this, but as a fan I am thankful to Brian Wilson for releasing this for HIS fans.
18. Love And Mercy 5/5
I have always loved this song. This version is another gift to the fans, and I would actually drop this as a single on June 5, when  the movie releases.

[♩♬🐸 Billy C ♯♫♩🐇]

Welcome to the board!

[Music Lover]

Thank you!